One of the best films I saw at Sundance Film Festival this year was Wildlife, the directorial debut of Paul Dano. Starring Carey Mulligan, Ed Oxenbould, Bill Camp, and Jake Gyllenhaal, the film, written by Dano and Zoe Kazan, is a remarkably assured look at the dissolution of a family. After recently stopping by Cannes and ahead of an October release, IFC Films have now released the beautiful first trailer.

Hot Streak: Ty Burrell has been nominated for eight years in a row and won twice (in 2011 and 2014).

Fun Fact: In the eight years “Modern Family” has been eligible, the cast has received 18 nominations in this category alone.

Alec Baldwin was a heavy favorite last year and ended up winning the trophy for his regular parody of Donald Trump on “SNL.” He’s back again in 2018, but he’ll be squaring off against almost as many competitors as there are fired White House staffers.

Just a few days ago, Marvel Studios president Kevin Feige confirmed that the studio is planning a Ms. Marvel movie, following the popular character Kamala Khan. While there is no specific timetable on when this may happen, actor Riz Ahmed has already thrown his hat in the ring, offering to write the script for Ms. Marvel, while asking fellow actor/writers Mindy Kaling and Kumail Nanjiani to write the script with him. Mindy Kaling also made it clear that she would love to write the script for Ms. Marvel.

Riz Ahmed's original tweet stated, "So when do @MarvelStudios want me @mindykaling @kumailn to get started on the MsMarvel screenplay?" While neither Marvel nor Kumail Nanjiani have replied yet, Riz's original tweet has garnered over 2.3K retweets and 13.9K likes, Mindy Kaling did respond an hour later, stating, "Riz! I am obsessed with this comic book, I've read them all. I love Kamala Khan.

After hearing word that Marvel is thinking about bringing their Ms. Marvel (Kamala Khan) character to the McU, The Night Of and Rogue One: A Star Wars Story actor Riz Ahmed wasted no time in tossing his hat into the ring as a writer on the potential project. Along with his offer, Ahmed then tagged A Wrinkle In Time actress Mindy Kaling and The Big Sick's Kumail Nanjiani onto the deal, which resulted... Read More...

Amazon Studios’ mission is to make commercial art films headed for critical, festival and (sometimes) awards acclaim. Despite some missteps, its slate shows signs of a developing strategy. In 2017, Amazon made a big splash at Cannes with two auteur-driven Competition films from Todd Haynes (“Wonderstruck”) and Lynne Ramsay (“You Were Never Really Here”), and wound up with a Best Actor prize for Joaquin Phoenix. Now, the company is back at the festival with competition entry “Cold War,” an immediate sensation that suggests the company is still very much in the game.

Last fall, Amazon dominated the New York Film Festival with opener “Last Flag Flying” from Richard Linklater, “Wonderstruck” as the centerpiece gala, and Woody Allen’s scandal-tainted “Wonder Wheel” closing it out — but taking those movies into the crowded fall marketplace was another matter. They floundered. A year later, the company seems to be trying to learn from its

Amazon Studios’ mission is to make commercial art films headed for critical, festival and (sometimes) awards acclaim. Despite some missteps, its slate shows signs of a developing strategy. In 2017, Amazon made a big splash at Cannes with two auteur-driven Competition films from Todd Haynes (“Wonderstruck”) and Lynne Ramsay (“You Were Never Really Here”), and wound up with a Best Actor prize for Joaquin Phoenix. Now, the company is back at the festival with competition entry “Cold War,” an immediate sensation that suggests the company is still very much in the game.

Last fall, Amazon dominated the New York Film Festival with opener “Last Flag Flying” from Richard Linklater, “Wonderstruck” as the centerpiece gala, and Woody Allen’s scandal-tainted “Wonder Wheel” closing it out — but taking those movies into the crowded fall marketplace was another matter. They floundered. A year later, the company seems to be trying to learn from its

FilmNation, the company behind films including Arrival and The Big Sick, has closed an output deal with Chinese digital platform iQiyi. The deal gives it exclusive access to show FilmNation features on its on-demand platform for three years. It comes as FilmNation is launching Paul Dano’s directorial debut Wildlife in Cannes. "More Chinese movie fans than ever before will be able to experience many of the best independent films from some of the world's most exciting…

Not even a shot of Botox under the arm will curb a certain kind of nervous sweat for buyers and sellers headed to this year’s Marché du Film. A continued pattern of caution will reign when it comes to deals at this year’s Cannes Film Festival, numerous industry insiders told TheWrap.

Festival titles have been selling at a snail’s pace since last September’s Toronto International Film Festival, despite the widely held industry line that we live in an aggressive buyers market. And while the Marché always brings a smattering of diverse international fare and typically produces an awards player or two, the impulse-buying phenomenon that one top studio executive called “festival fever” has cooled considerably.

“There are challenges in the independent marketplace that are well-documented in terms of the economic model and the pipeline of films,” said Stuart Ford, former head of Im Global, who returns to France with his new content and sales engine, Agc Studios.

“I don’t expect Cannes to signal any great deviation from the trajectory we’ve been on, but true premium projects will be more in demand … the appetite and the volume of business for smaller indies is just changing.”

One studio executive, speaking on condition of anonymity, added, “A few years ago, people were really overspending and then taking a bath when they released the films.” Another notable dealmaker who declined to be named said that interest in finished films at Cannes, even competition titles, is unusually low.

“People are so apprehensive,” said Alex Walton of Bloom, an international sales, production and financing company (“The Nice Guys,” “Suburbicon”). But Walton cautioned against sounding any death knells, thinking back to his time at Paramount’s defunct indie label, Vantage.

“I think our top movie one year made $12 million at the box office,” he said. “Compared to now? This is a heyday. The market will liven up with continued success stories, like ‘Hostiles’ making $30 million or ‘Chappaquiddick’ getting to around $12 million. Or look at ‘Lady Bird’ and ‘The Shape of Water.'” (“Lady Bird” grossed $49 million, while Guillermo del Toro’s Oscar winner hit nearly $64 million.)

Here’s what we’ll be watching for as the market unfolds on the Croisette:

1. Interrupted Streams

It’s been two years since streaming giants Netflix and Amazon stormed the indie market at Sundance, acquiring titles by the bucket and inflating price tags by millions. The companies both launched fireworks displays to announce their arrival and drove a money train that almost immediately stalled. Both companies pivoted to original productions, which the services could own outright as library titles and use to keep their global pipelines full of content. At the Marché this year, expect both to pack light.

Netflix has already given us the first beef of Cannes by refusing to submit its films to any section of the festival. The move was in direct response to a rule change that all eligible competition films must have a theatrical run in France, a move that found festival boss Thierry Frémaux placating France’s domestic exhibition business, which was in full revolt over Netflix’s day-and-date theatrical release strategy.

Also Read: Netflix Bails on Cannes Over Theatrical Release Mandate

But if Netflix won’t send films, it will send acquisitions reps to the festival for some window shopping. “Netflix is more likely than anyone to be prolific,” said Bloom. “They need more foreign product than anyone else.”

Amazon is in a different situation. Jeff Bezos’ studio is still “in flux” after installing former NBC chief Jen Salke to replace the disgraced Roy Price, one studio executive said. “They’re not looking to be major players–their strategy has moved to bigger films. They might be looking for awards but they’re after the next ‘Big Sick,’ not a Todd Solondz movie.”

One pocket of the sales market sure to see movement are content packages with movie stars attached — deals where agencies will bring scripts and big names to market and raise millions in domestic and international sales to finance production.

Long before distributor Neon and content sales company 30West bought “I, Tonya” for $6 million out of Toronto, for example, the Margot Robbie-starring, Oscar-nominated film raised millions in France to get it onto the ice. (The film grossed $30 million domestically.) And last year, the stop-motion film “Bubbles,” about Michael Jackson’s beloved chimp, kicked off a heated bidding war eventually won by Netflix for what was reported to be a staggering $20 million. Action fare like Chris Evans’ “Red Sea Diving Resort” also fetched big money.

“We’re taking two behemoth projects with big names,” Ford said. Though he couldn’t disclose attachments, he targeted the budgets at around $100 million each. “There’s a certain tier of films that even a couple of years ago would have seen studio production,” he added. “It reflects the reality that studios are making fewer movies.”

3. Mini-majors And Major Prizes

One thing our insiders unanimously agreed on was the plum position of the mini-major–specialty labels at the big studios who get to flex creative muscle without having to perform big for the C-suite executives. Sony Pictures Classics, Focus Features and Disney’s soon-to-be-acquired gem Fox Searchlight are all coming with money to spend, numerous individuals familiar with their plans told TheWrap.

There are also decisive and well-financed operations like A24, The Orchard and Magnolia, which will be on the prowl for awards season entries across features and documentaries. Last year, The Orchard took Robin Campillo’s “Bpm,” which won the César (France’s Oscar) though it fell short of an Oscar Best Foreign Language Film nomination. Spc took Andrey Zvyagintsev’s “Loveless,” which made the Oscar cut but didn’t win.

For the record, a previous version of this story had an incorrect purchase price for theatrical rights to “I, Tonya.”

Read original story Why Cannes Film Market May Move at an Escargot’s Pace This Year At TheWrap

Gilpin will next be seen reprising her role as Debbie "Liberty Belle" Eagan in Season 2 of "GLOW," which will be available to stream on Netflix on June 29. It was also recently revealed that Gilpin has been cast in The Grudge, an adaptation of the Japanese horror that is slated for release in 2019.

In 1972, “Last Tango in Paris” told the story of two strangers who hung out in a Parisian apartment for several days, doing nothing but talk and have sex, and it was one of the most electrifying and revelatory movies ever made. Flash forward: “Duck Butter,” a low-budget improv vérité psychodrama, tells the story of two strangers who hang out in an apartment (and then a house) in L.A. over the course of 24 hours, doing nothing but talk and have sex, and it feels like we’re seeing the director’s cut of an Ikea commercial.

This may say something about the difference between two cinematic eras; filmmakers, even when they want to be loose and truthful, are no longer swinging quite so hard for the fences. But it also says something about how yesterday’s revolution became today’s middle-class normalcy.

On the April 26 episode of “RuPaul’s Drag Race” season 10, Blair St. Clair, a 22-year-old from Indianapolis, Indiana, was sent packing. Do you think this elimination was the right decision? Or did The Vixen, her 26-year-old pal who is from Chicago, deserve to go instead? Vote in our poll below and be sure to sound off in the comments section.

To recap, this sixth episode of the season, “Drag Con Panel Extravaganza,” ended with these two queens having to lip sync to “I’m Coming Out” one of the biggest hits by Diana Ross. The Vixen stepped up her game, with her enthusiastic performance. By comparison, Blair’s rendition of the song seemed ragged.

For CinemaCon’s annual gathering of theater owners in Las Vegas, the Motion Picture Assn. of America released a new report showing a 6% drop in theatrical attendance in the U.S. and Canada in 2017, representing a 22-year low.

Though the breakout success of “Black Panther” is likely to quiet some worries about superhero fatigue, distributors and exhibitors working the mid-range and low-budget end of the spectrum are facing some doubts about the viability of their product in the age of tentpoles and streaming media.

Anupam Kher is currently one of the most celebrated Indian actors in Hollywood who has the distinction of having bagged two nominations at the Screen Actors Guild Awards for Silver Linings Playbook (2013) and The Big Sick (2018) and a BAFTA nomination for The Boy With A Topknot. In addition to his popular shows, Sense8Read More

The post Anupam Kher to star in BBC’s Mrs Wilson appeared first on Bollywood Hungama.

Amazon CEO Jeff Bezos said the e-commerce giant has amassed 100 million Prime subscribers globally, a eye-catching number the company disclosed for the first time. In his annual letter to shareholders, Bezos reported the milestone, which he attributed in part to the success of Amazon’s video streaming service and the popularity of award-winning original series such as The Marvelous Mrs. Maisel and the Oscar-nominated movie The Big Sick. “Prime Video continues to drive…

One of the biggest scene-stealers for this TV season is Anthony Carrigan, who plays a mobster alongside “SNL” veteran and Emmy nominee Bill Hader in HBO’s buzz-worthy “Barry.” Audiences are already noticing his star-making turn as NoHo Hank, a bald, tattooed Chechen thug that also happens to be a polished henchman with a heart of gold.

Director Shoojit Sircar doubtless spent many hours in plush four-star hotels promoting 2015’s intriguingly low-key Piku, and the experience has inspired a film that initially threatens to be a Rossellinian departure for the Indian mainstream. For once, the focus isn’t on jetsetters swanking around rooftop pools, but the youngsters cleaning up after them for minimal wages and scant health benefits. That last detail proves significant, given that October interrupts its careful survey of a hotel’s intern programme when the dedicated Shiuli (Banita Sandhu) tumbles from a balcony and sustains severe brain damage.

What follows, however, is a shaky, perilously one-sided romance, pitched somewhere between The Big Sick and a full-on weepie. As the moody, irresponsible Danish (Varun Dhawan) steps up, scattering night jasmine blossoms around intensive care in a bid

In a film where everything that could possibly wrong for the characters, does go wrong, there is almost nothing that the director does that can even remotely be considered wrong.

Shoojit Sircar understands and empathizes ​with ​the pulse of the working class, their fears and anxieties. It could be an abundant sperm count (Vicky Donor) or constipation (Piku). The anxiety never ceases. In October, it is death and mortality that binds the characters in a clasp of compassion, not in any obvious way. But in the way the universe conspires to keep the world from falling apart.

Juhi Chaturvedi’s writing is so lucid I felt I knew first-hand all the characters who populate her wondrous world of alchemized pain.

The plot is​ about an obdurate seemingly obnoxious hotel-management trainee, played with wilful gusto by Varun Dhawan, who decides that the quiet,

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